Following the critical and commercial success of "O Brother, Where Art Thou?", the Coen Brothers returned with a decidedly more stylistic and subdued feature. "The Man Who Wasn't There" follows the story of Ed Crane, a low key barber who is married to Doris, a bookkeeper with a drinking problem. Doris is having an affair with her boss, something that Ed has already figured out. When one of Ed's customers mentions he's looking for an investor for a new business he's mounting, he decides to blackmail Dave, Doris' boss. Dave decides to embezzle money from his department store to pay for the blackmail, but soon figures out who's responsible for the scheme. This sets in motion a series of events that leads to dramatic results.
"The Man Who Wasn't There" is a stark and stylistically beautiful film from the Coen Brothers, with a stunning cinematography from their usual collaborator Roger Deakins. It's also a film that has a somber tone and rhythm, unlike most of their previous features which were always dominated by a continuous momentum. The film is an apt reflection of the dour central character, perfectly embodied by Billy Bob Thornton. It's an austere film noir, that definitely lacks a punch, which is where the film ends up faltering. The cast is phenomenal, which is typical for their productions, but the film misses a more aggressive pacing and momentum. A more subdued effort from these talented film makers.

Director Daniel Espinosa is back, following his little seen and critically maligned "Child 44", this time around, tackling a script from the successful duo of Rhett Reese and Paul Wernick (the duo responsible for writing "Zombieland" and "Deadpool"). The film follows the story of a crew of 6 people, that are currently on orbit at the International Space Station. The team manages to salvage an exploratory hub that came from Mars, and much to everyone's surprise, they discover life in some of the samples that came with the hub. Initially a joyous and celebratory event, the entity quickly starts growing, and reveals itself hostile, starting to attack the crew members. It's up to the team to avoid that the creature makes it to the surface of Planet Earth.
This is a film that is ripe with potential - it tries to merge the concepts of "Alien" with the somewhat grounded approach that "Gravity" brought forth. However, it quickly becomes apparent that Ridley Scott, nor Alfonso Cuaron are at the helm of the film. This is a feature that lacks a point of view, a successful sense of menace, and ultimately something that makes it more identifiable, and not so derivative of better films. Both "Alien" and "Gravity" were without a doubt, the merger of many factors, namely design, concepts, storytelling, but they were also works from directors that manage to have a strong point of view, and embed it (with varying degrees of success) in whatever films they create. "Life" tries desperately hard to give the characters something to do, but it lacks dimension, and definitely lacks a sense of menace. The antagonist creature, as polished as it may be, looks excessively digital, and is overly visible. One of the reasons why "Alien" was so successful was precisely the fact that the audience only partially saw the menace - letting the imagination do the rest is invariably its own reward. This is a film that has a good cast, and a great production team, but definitely lacks a stronger point of view. Quickly forgettable.

Director Peter Jackson had an interesting career prior to the adaptation of the books by J.R.R. Tolkien. He first established himself as a cult name with films that ranged from the over the top trilogy of "Bad Taste"/"Meet the Feebles"/"Dead Alive", to the indie film that showed his more dramatic side, with "Heavenly Creatures", which simultaneously launched the careers of Kate Winslet and Melanie Lynskey. After his first Hollywood film went largely unnoticed ("The Frighteners" with Michael J. Fox), the director tackled what would become his biggest challenge and the forever staple in the adaptation of fantasy films. "The Lord of the Rings: The Fellowship of the Ring" premiered in December of 2001 to great accolades, being rewarded with Academy Awards and a huge commercial success. The film is a faithful adaptation of the novels from J.R.R. Tolkien, and follows the adventures of Bilbo Baggins, and his friends, as they come across a ring that can define the powers to be in the realms of Middle Earth. Alongside Bilbo are his hobbit friends Sam, Pippin and Merry, his human friends Aragorn and Boromir, an elf by the name of Legolas, a dwarf by the name of Gimli and the wizard Gandalf. This group sets out to destroy the ring of power, but are pursued by the hordes of Sauron, and the obstacles just become bigger and bigger as their odyssey begins. This is a journey that will test all their resilience.
Peter Jackson is an imaginative director, one with a thorough knowledge of film techniques, something that he put to good use with his initial films, that garnered him quite a lot of attention in film festivals. His adaptation of "The Lord of the Rings" was a herculean task, since he tackled the three films simultaneously, and was his first time handling a task of that scale. The results are quite strong, even if structurally the films end up having an uneven momentum. The first volume manages to be quite possibly the best, since it defines the universe of the story, presenting and defining the lead characters, giving everyone just enough dimension to make their characters compelling and noteworthy. It's a film that works exemplary on all the different production levels that are on display, from the cinematography of Andrew Lesnie, the score from Howard Shore, the production and costume design, to the fantastic visual effects on display. The cast is uniformly excellent, with Ian McKellen and Viggo Mortensen in particular creating indelible characters. A very good film from a unique storyteller in film.

"L.I.E." (standing for Long Island Expressway) was director Michael Cuesta's debut feature, premiering at the Sundance Film Festival of 2001, and earning accolades in several festivals and awards guilds. The film follows the story of Howie Blitzer, a teenage boy, whose mom has passed away recently, and whose father is currently in the throes of dealing with some shady businesses and dating new people. Howie is pretty much left to his own devices, and spends time with the charismatic Gary, who flirts with him, and who has the habit of robbing houses in the neighborhood. One of their victims turns out to be Big John, one of Gary's clients. Big John develops a friendly relationship with Howie, something that is further enhanced when his father is arrested for dangerous practices in his business. "L.I.E." is a fantastic film and was a great debut for Michael Cuesta, who has gone on to direct a mix of feature films (more recently "Kill the Messenger") and high profile TV shows (such as Showtime's "Dexter" and "Homeland"). His first feature tackles difficult issues, with the central character coming to terms with who he is sexually, and also by making the dubious Big John his father figure. It's a film that deals with the alienation of families, lack of communication, and also how the process of finding one self isn't always a linear one. The film features two great central performances, one from the always underrated and terrific Brian Cox, and from Paul Dano, then just starting his career, who impresses beyond his young age. A very good film from a very interesting director.

After a career directing shorts and TV Series, director Jordan Vogt-Roberts made a name for himself with the well received "The Kings of Summer". This follow up is a huge difference in themes and scale, and is a somewhat successful B-Movie/Grindhouse film, wrapped in a big blockbuster style. The film follows an agency and government expedition to a mostly unknown island, that has surfaced on the radar, but that no one knows much about. Under the guise of getting further geological information, seismic charges are dropped into the Island, which in turn awakens the herculean Kong, a colossal ape that is the undisputed king of that island. The teams get dispersed, some die, but thanks to the unexpected help of a long lost survivor, they figure out a plan to reach their evacuation point. However, they soon realize that Kong isn't the only creature they should fear.
Unlike Peter Jackson's retelling of the King Kong story (from 2005), Jordan Vogt-Roberts goes for a different tone, one that is definitely more anchored by influences of B-films, and even Francis Coppola's "Apocalypse Now". The film takes place in 1973, and successfully captures the dynamics of that time (political, military and social), the colors, and the music, but soon that quickly becomes background when the team reaches the island. The film then quickly becomes a creature feature, with Kong quickly coming into play, decimating part of the team, while other equally menacing creatures surface to also challenge the human teams of reaching safety. Sadly none of the characters are actually given much to do, particularly the always interesting Brie Larson, who as photo journalist Mason Weaver, spends most of the time behind the camera (her motivation is to discover why the island is so secretive). Tom Hiddleston is sadly miscast as the lead tracker - he lacks charisma, humor and depth to actually make the character memorable, the same going for Samuel L. Jackson (who by the way looks like he just phones in his more recent performances, such as David Yates' "The Legend of Tarzan"). The film manages to be entertaining thanks to John C. Reilly's always welcome presence, and the tone of the film, that oscillates between large budget extravaganza (fantastic special effects), and B-movie aesthetic, which perfectly suits it. A mildly entertaining film.

After two successful feature films, "Con Air" and "The General's Daughter", director Simon West tackled the adaptation of well known video game "Tomb Raider". The film follows the story of Lara Croft, a beautiful and well off heiress, who is a treasure hunter. She is faced with a new adventure, when a group named the Illuminati steals one of her artifacts, in the pursuit of something that will potentially give them control over the entire world. In a quest to stop them, Lara goes to Cambodia and then Venice, in order to battle them.
The "Tomb Raider" series has so far been comprised of two features: both of them have had Angelina Jolie as the lead character, and that has been the highlight of the films. The story at the base of this film, doesn't provide much character development - we never really know much about Lara, and what really drives her. Angelina Jolie gives some edge and nuance to a character that on paper (or video game), is simply a resourceful and attractive grave digger (a female equivalent of Indiana Jones, but with male servants and more money). The film features beautiful locations, solid visual effects, but sadly is also instantly forgettable - the sense of menace and dread is never effective, and the supporting characters (and main villains), have no development or much in terms of motivation. It's a film without a solid point of view, and the sense of entertainment that Steven Spielberg built with his Indiana Jones series, is mostly absent from this franchise. Angelina Jolie aside, this film is forgettable.

"Jeepers Creepers" premiered in 2001, and was a surprise hit. The film produced by celebrated director Francis Ford Coppola, focuses on two siblings who are driving home for vacations. While driving on a rather isolated road, they notice an old van, which at some point pursues them. They are not aware of the driver, but they notice the van yet again, and this time, the driver is disposing of what seems to be a body down some sort of a chute. After much discussion, the siblings decide to investigate, and Darryl, the younger brother, goes down the chute and discovers much to his horror, a series of bodies. This sets in motion an intense chase from the driver in pursuit of the siblings, with further surprises happening when they discover the true nature of the driver.
"Jeepers Creepers" is an interesting film, one that manages to be a creature feature, that smartly hides the creature for most of the duration of the film. The film successfully builds the relationship between the two siblings and lead characters, and places them in the middle of a rather isolated road and location, and therefore more exposed to the attack of this driver/entity who is relentless. The tension progressively builds, until the siblings (and us), realize the true nature of the attacker. The director also smartly hides the creature in the dark, suggesting more than showing the totality of it, and going for the cheap thrills. The film has some great influences, namely from Steven Spielberg's "Duel" and George Miller's "Road Warrior"- but all these are presented in an original way, with just enough humor and nostalgia, that make it feel fresh and original. Worth watching.

About Me

Joao Pedro Canhenha is a UX Creative Director and Lead Product Designer (UI/UX/Visual Design) who has started developing projects in the Interactive arena since the year 2001. Since then, he has worked on a wide variety of projects, of different natures and in different conditions. The path has been utterly rewarding and as a result it has been a constant growth experience, one always filled with discovery and enlightenment. Ultimately the goal has always been the same: providing solutions that are rewarding and that meet what the client/project aims for. Something unique, specifically conceived and always functional. The goal is to continue developing projects that reach wider audiences, that bring satisfaction to clients and ultimately find the balance between functionality and technical expertise.